Also a wonderful piece, a bit long and repetitive (7 min), but what struck me was the strange arpeggios at the beginning. They flow through the song, for a long time, with some altered chords I find interesting because of the openings they provide in the harmony. Then, you have this beautiful part at the end, where all seems to be released. The melody flows from high to low, then to high, playing quadruplets over triplets at the left hand.

This was a very hard work, the amazing slow downer software did help me a lot! I hope you'll like it, i'd be happy if someone had transcribed it before me...

Details of the transcription work

Key signature

At the beginning, I was wondering what key signature I had to put for the whole piece. Because the first chord seems to be a Eb major on a Ab6 (without the third). So I thought first of 4 flats, corresponding to Ab major.

But then, you progress in the music, and you happen to use more "sharp" chords (measures 7-10), so then I thought: let's take sharps (4 sharps) and suppose that we are in something other than in Ab major. I was nearly right, because in further progression, you encounter lots of chords around the B major chord. (F#7, F#sus4...) so then I chose 5 flats for B major / G# minor. It seems to be G# minor because in the last part of the song, even if it begins with a C#m7 chord, has A# numerous times, and finishes the phrase in G#m7.

So the piece is in G#minor, even if the beginning of the piece is weird and has a foreign chord.

Notes

Some arpeggios are hard to find, because they sound strange, we are not so used to dissonant chords. For example, at measure 13, I'm still wondering if it's the right notes, because F# C D# F A C seems so weird, and the notes are not played at the same volume, so I don't hear well.

Again, at measure 59, this chord took me lots of time to find that the missing note was a natural D.

At measure 88, it took me some time to find the right notes. I was waiting for a standard G#dim chord, but no, there was this E# to make some disturbance there :) So it looks like we put a F7 chord on a G#7 chord, how ingenious.

Glissandos

Some glissandos in the piece, it forced me to learn how tu put Glissandos in Musescore (not too hard :) )

Anyway, it's difficult to know where are the beginning and ending of a glissando, since there are so many notes sounding together. I just chose the extreme notes by feeling.

Rhythm

The repetitive rhythm of the 1st part is not hard: 6 notes each time. Since there are 4 times the same chord for the arpeggios, I took for granted that there are 4 times per measure. 6 notes in a time, it's ternary, so it's 12/8. But I don't know what notes are played at the right hand and the left hand. I split in 2: 3 notes at the left hand, 3 notes at the right hand. But careful to play stronger the last 2 notes of the 6.

Then the rhythm at the 2nd part. At first, listening to these notes flowing was something magic, it's so beautiful. This magic restrained me from tempting to analyze the rhythm and the notes. But I wanted to transcribe it so I understand the magic now.

At first I kept the 12/8 time signature, but something was wrong at the first measure of the 2nd part. I listened carefully to the left hand: 9 notes per measure. At the right hand, 12 notes. I had to put 12 notes on 9 notes. What's the solution?

I listened to the feeling of the tempo. At the left hand, it sounds like triplets, so 3 triplets (3*3 eight notes). By dividing 12 notes by 3, I obtain 4 notes per pulse, so it's quadruplets at the right hand and triplets at the left hand! Yeah I love that!

It seems so straightforward now, I don't know why it took me this long time to find this 4/3 combination. I'm aging yes.